ACCORDING to Thom Yorke, Radiohead's sixth studio album began with him seeking inspiration in solitary drives at twilight through the countryside near his Oxfordshire home, while listening to the ominous strains of modern classical music.

It's an arresting image for an album filled with a palpable atmosphere of foreboding and gathering darkness (and one aptly subtitled The Gloaming). No, Radiohead have not cheered up any, in case you were wondering.

Despite Hail To The Thief seeing them playing together as a full band for the first time in ages, it is no return to the raw-knuckled guitars and epic melodies of The Bends (although opening track 2+2=5 sees them relishing getting to rock out for the first time in years).

Instead, the bulk of Hail To The Thief is another variation on the bleak, sketchy territory of its predecessors Kid A and Amnesiac - the guitars may be back, but clanking tribal percussion, laptop-programmed electronic beats, distorted bass and doom-laden piano lines set the musical tone.

However, it is a more captivating and consistent album - there's a genuine sense of depth and enigma to bring you back to it repeatedly.

That's even despite Thom Yorke seemingly having taken a vow to avoid melody at all cost - the "decent tune" quota is even lower than Amnesiac, which at least had Knives Out on it. Frustratingly, Hail To The Thief always threatens to turn into a modern rock masterpiece, but then gives up and just grumbles a bit to itself.

If you think of it as a soundtrack to a particularly dark arthouse movie, it's a good album. If you're after a rock record to play in the car, Radiohead just don't make those any more.

Updated: 10:49 Thursday, June 12, 2003